Money is the harvest of our production and service. We in turn use it to obtain the production and service of others.
There are two kinds of science: The black science and the white science. The science of weapon production is the black one. Working in this category of science is a great betrayal to humanity!
The division of labor, which has brought such perfection in mechanical industries, is altogether fatal when applied to productions of the mind. All work of the mind is superior in proportion as the mind that produces it is universal.
Louis 'Thunder Thumbs' Johnson was one of the greatest bass players to ever pick up the instrument, as a member of the Brothers Johnson, we shared decades of magical times working together in the studio and touring the world. From my albums 'Body Heat' and 'Mellow Madness,' to their platinum albums 'Look Out for #1,' 'Right On Time,' 'Blam' and 'Light Up the Night,' which I produced, to Michael's solo debut 'Off the Wall,' I considered Louis a core member of my production team. He was a dear and beloved friend and brother, and I will miss his presence and joy of life every day.
The wrecking ball is characteristic of our way with materials. We 'cannot afford' to log a forest selectively, to mine without destroying topography, or to farm without catastrophic soil erosion. A production-oriented economy can indeed live in this way, but only so long as production lasts.
Technology that pollutes can also cleanse, production that amasses can also distribute justly, on condition that the ethic of respect for life and human dignity, for the rights of today's generations and those to come, prevails.
I started by saying that one of the most fateful errors of our age is the belief that the problem of production has been solved. This illusion, I suggested, is mainly due to our inability to recognize that the modern industrial system, with all its intellectual sophistication, consumes the very basis on which is has been erected. To use the language of the economist, it lives on irreplaceable capital which it cheerfully treats as income.
Uranium mining in northern Canada has left over 120 million tons of radioactive waste. This amount represents enough material to cover the Trans-Canada Highway two meters deep across the country. Present production of uranium waste from Saskatchewan alone occurs at the rate of over 1 million tons annually. Since 1975, hospitalization for cancer, birth defects and circulatory illnesses in that area have increased dramatically - between 123 and 600 percent in that region.
We can decide that the presence of cancer-causing substances in our air, water, and food is too expensive. A 2009 study, for example, has found that coal miners in Appalachia costs the region five times more in premature deaths, including from cancer, than it provides to the region in jobs, taxes, and economic benefits. In California, the production and use of hazardous chemicals cost the state $2.6 billion in 2004 alone in lost wages and health-care expenses to treat workers and children with pollution-linked diseases.
... we find ourselves facing a rising tide of biologically active, synthetic organic chemicals. Some tinker with our hormones. Some attach themselves to our chromosomes and trigger mutations. Some cripple the immune system. Some light up our genes and so enhance the production of certain enzymes. If we could metabolize these chemicals into completely benign breakdown products and excrete them, they would pose less of a hazard. Instead, a good many of them accumulate.
DJ Sliink is amazing, and his production is on the next level. There are a lot of EDM producers that Id like to work with, not for the sake of having an engineered record, but for the fact that I love their production and music.
I'm lucky. I don't have to produce the whole movie. What I've been doing is just coming up with ideas for movies. I write a concept, a treatment, an outline, and if I sell that to a studio, then someone else does the actual production and I go on to another project, although I keep the title executive producer.
You often feel like you are on a high wire with no net productions because you have to rely on spontaneity and come up with ideas on the spur of the moment - and then what happens is that there is electricity to it that gets caught.
When you got source material, whether it's a play or a book - a great writer often appreciates being adapted and developed. It's like when you go see a production of a great play and they are always different. There is always room for interpretation.
I love the unexpected and I think that's why documentary is an attractive genre to me because you don't know where it's going to go, so I tend to involve that as much as possible in the production process.
It is better to develop ideas with friends rather than the usual route of having a great idea and throwing it out into a production, and being surrounded by professionals who've been doing their jobs for years.
Films are made the same today, as they've ever been made, in certain respects. The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.
The most challenging work is producing. The physical act of getting a production up and running is extremely taxing, and you never have any guarantee that your years of work on any given project will ever bear fruit.
The majority of the filmmaking process is in pre-production. The more you've planned out the more freedom there is on set to find new stuff, to play around, find new jokes and let the actors kind of breathe - but it needs to come from a place where it's completely structured.
My brand is good storytelling. I really want [my company] Hillman Grad Productions to be associated with great stories, interesting characters; things that are three-dimensional and feel honest.
Clint Eastwood is so fair and consistent. It does not matter who he is talking to, he is always nice. It doesn't matter whether he is with a production assistant or Steven Spielberg, he is friendly and never seems superior. I think it is hard for people to realize that he is accessible because they are caught up in the image and can't talk to him because he is 'Clint Eastwood', so they get tongue-tied. They get terrified. It is funny watching people with him.
The image isn't just created with the camera. That's just part one. The editor gets an imprint. The colorist does something to it. Visual effects does something to it. It's not just what you capture that people are going to see. The image gets made in many ways. In production and then in post.
Digital also had this evolution that came out of post-production. And George Lucas did it because he wanted to make a big movie with special effects. Sort of the opposite of what you'd think is an indie film. So it's coming from both these angles.
There is a production and distribution pact, so they help with the production financing and take international territories and do international distribution and marketing.
I think the advantage we had with "MacGruber" is the speed we had to put it together. We had a such a short period to write the movie and such a post-[production] period, it was almost like the way that the show worked, where everything is happening so fast you have to go with your gut.
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